CfP: Association of Art Historians 2017

AAH2017 

43rd Annual Conference and Art Book Fair

Loughborough University

6 – 8 April 2017

Deadline for Proposals: 7 November 2016

 

AAH2017’s Call for Papers includes two sessions of interest to RIN’s members, readers and followers:

 

Prints in Books: the materiality, art history and collection of illustrations

Convenor: Elizabeth Savage, Cambridge University, leu21@cam.ac.uk

 

Speculative Libraries

Convenor: Nick Thurston, University of Leeds, n.thurston@leeds.ac.uk

 

Please email your paper proposals straight  to the session convenor(s). Provide a title and abstract for a 25 minute paper (max 250 words). Include your name, affiliation and email. Your paper title should be concise and accurately reflect what the paper is about (it should ‘say what it does on the tin’) because the title is what appears most first and foremost online, in social media and in the printed programme.

You should receive an acknowledgement of receipt of your submission within two weeks.

 

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RIN Summer event: ‘Staging Shakespeare’, Professor Frederick Burwick, Westminster Archives Centre, July 19th 2016

RIN’s summer event took place on one of the hottest evenings of the year, but a great crowd turned out to hear Frederick Burwick’s public lecture ‘Staging Shakespeare: picturing Shakespeare’s plays in the 18th and 21st centuries’.

A renowned expert on the Boydell Shakespeare Gallery, Burwick’s starting point was the question: what relevance are the Boydell prints to the staging of Shakespeare?

His answer, in contrast to Richard Altick’s (in Painting From Books, 1985) is: quite a lot.

Burwick picked out 27 images which showed that many (not all) of the Boydell prints in fact have a close affinity with what a London audience might have witnessed on stage at the end of the 1700s.

He showed that, because many of the original paintings were done by artists who were also scene painters, the prints are a useful guide to what the 18th century stage would have looked like. Northcott and others asked actors such as Kemble to pose in their studios in role, and the paintings conform to the language of gesture in use on the stage at that time.

Indeed, Burwick’s lecture made it clear that the Boydell images remained an influence on subsequent Shakespeare productions, as Burwick drew comparisons with 20th and 21st century stagings.

At the wine reception (sponsored by the British Association for Romantic Studies) after the lecture, attendees were able to look at the digitized Shakespeare Gallery prints donated to RIN by Burwick, and also at items from the Westminster Archives extensive Theatre collection.

 

 

Reminder: RIN’s summer event, ‘Staging Shakespeare’, London July 19th

‘Staging Shakespeare: picturing Shakespeare’s plays in the 18th and 21st centuries’.
Professor Fred Burwick, University of California Los Angeles

Tuesday 19th July 2016
6.30pm – 8pm
City of Westminster Archives Centre, 10 St Ann’s St, London, SW1P 2DE

Join us for an event to celebrate Shakespeare’s 400th Anniversary, with a free public lecture followed by a wine reception (sponsored by the British Association for Romantic Studies).

Download the poster at https://romanticillustrationnetwork.wordpress.com/2016/05/03/rin-event-fred-burwick-staging-shakespeare-public-lecture-at-westminster-archives-july-19th-2016/.

 

RIN member Fred Burwick will share his expert knowledge of the Boydell Shakespeare Gallery, opened in Pall Mall in 1789. The talk will examine the extent to which any of the scenes in the Boydell Gallery might be presumed to represent how Shakespeare was actually performed during the period, and also consider present-day models of representation.

Prints from the Gallery will be on view, as well as a display about Shakespeare.

To book, contact: City of Westminster Archives Centre, 10 St Ann’s St,London, SW1P 2DE
Tel: 020 7641 5180
Email: archives@westminster.gov.uk

 

RIN members: request for help

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Dear All,

Thank you so much for continuing to be part of the Romantic Illustration Network, and for following the RIN blog.

We are interested in how membership of RIN has impacted upon the work and interests of all our members who are not university academics: artists, illustrators, independent scholars and everyone with a general interest in visual culture and/or illustration etc.

Has a post on this site generated any new ideas for you? Have you visited an exhibition advertised on the blog? Have you been inspired by something you heard about via RIN? We’d love to hear from you!

Drop me a sentence or two at Mary.Shannon@roehampton.ac.uk, and I will make sure future posts contain more of the info that you find useful and exciting.

 

CFP. Abusing Power: The Visual Politics of Satire

AbusingPowerAbusing Power: The Visual Politics of Satire
23rd Sep 2016 9:00am – 24th Sep 2016 6:00pm
Brighton Museum and Pavilion

A conference organised by the University of Brighton in association with the Royal Pavilion and Brighton Museum. Abstracts due: 9th May 2016 

 

http://arts.brighton.ac.uk/research/c21/events/events-calendar2/abusing-power-the-visual-politics-of-satire

Speakers include:

Steve Bell, political cartoonist
Martin Rowson, political cartoonist
Professor Ian Haywood, University of Roehampton
The Curator of the Cartoon Museum, London
The Curator of Fine Art at the Royal Pavilion Museums

In January 2015, 12 of France’s most familiar cartoonists were shot dead in Paris. The aftermath of the attack on Charlie Hebdo raises significant questions about the status and the potential impact of an image and gives this conference a political urgency. The events in Paris underline both the power of the political cartoonist and the dangers of causing offence to political and religious sensibilities.

In 1820, George Cruikshank and his brother Robert were summoned to Brighton Pavilion by George IV, in an attempt to buy them off from reproducing their salacious satirical cartoons. They were paid off, but continued to produce scurrilous images of the royal family and political figures. The Royal Pavilion now houses one of the best collections of Cruikshank, Hogarth and Gillray in the world, three of the most eminent caricaturists in visual history.

The city of Brighton and the University have a long history of association with cartoon and caricature. This conference offers the opportunity to celebrate the rich history of caricature and cartoons associated with Brighton and to address the important ethical questions that now confront the contemporary cartoonist. It celebrates the rich collections of Cruikshank, Gillray and Hogarth at the Brighton Pavilion and brings together the expertise of practitioners, curators, academic historians and cultural analysts. The conference draws upon the research expertise of the University, on the curatorial experience of museum staff and on cartoonists who currently practice.

This conference is organised by three research groupings from the College of Arts and Humanities at the University of Brighton, the Centre for Applied Philosophy Politics and Ethics, the Centre for Research in Memory, Narrative and Histories and C21: Research in Twenty-First Century Writings, which allows for the interdisciplinary focus that the subject merits.

We invite proposals (c300 words) for both papers and panels on topics which may include, but are not limited to:

Comedy and ethics – what are the responsibilities of a cartoonist? || The curation of cartoons – what should be kept? || How far can you go? Are there limits to what a cartoonist can lampoon? || The legacies of Cruikshank, Gillray and Hogarth || Religion and caricature || Representations of history through cartoon || The impact of caricature on popular ideas of politics || Celebrity and caricature || In what contexts does satire flourish and why? || Is satire necessary?

DEADLINE: Email your proposal and short bio to C21Writings@brighton.ac.uk by 9th May 2016 

Lewis Walpole Library New Exhibition: “James Gillray’s Hogarthian Progresses”

“James Gillray’s Hogarthian Progresses”

Exhibition on view April 6 – September 16

The Lewis Walpole Library

154 Main Street, Farmington, CT 06032

Sequential narration in satiric prints is most famously associated with the “modern moral subjects” of William Hogarth (1697–1764): Harlot’s Progress (1732), A Rake’s Progress (1735), Marriage A-la-Mode (1745), and Industry and Idleness (1747) among others. HP_publicity-images_enews-lg-1Less well-known is the broad spectrum of legacy “progresses” produced by subsequent generations drawing both on Hogarth’s narrative strategies and his iconic motifs. James Gillray (1756–1815), celebrated for his innovative single-plate satires, was also among the most accomplished printmakers to adopt Hogarthian sequential narration even as he transformed it according to his unique vision. This exhibition presents a number of Gillray’s Hogarthian progresses alongside some selected prints by Hogarth himself.

Curated by Cynthia Roman, Curator of Prints, Drawings, and Paintings, The Lewis Walpole Library.

Exhibition open Wednesdays, 2-4:30 pm, and by appointment

Further information about the exhibition and associated programming

Image of the Month: ‘Edward the Black Prince; or, the Battle of Poictiers’ (Mariana and Arnold) 1791

Illustration to William Shirley's 'Edward the Black Prince', scene 3, from Bell's 'British Theatre' series; at the door of a tent, a girl kneels in pleading with a knight turning from her to right, another girl standing behind in round frame with elaborate frame; sheet trimmed and pasted within platemark in imitation of an india proof. 1792. British Museum. Museum no. 1875,0710.3387 http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3041464&partId=1&searchText=edward+the+black+prince&page=1

Illustration to William Shirley’s ‘Edward the Black Prince’, scene 3, from Bell’s ‘British Theatre’ series; sheet trimmed and pasted within platemark in imitation of an india proof. 1792.
British Museum.
Museum no.
1875,0710.3387
http://www.britishmuseum.org/ research/collection_online/ collection_object_details.aspx? objectId=3041464&partId= 1&searchText=edward+the +black+prince&page=1 Used under a Creative Commons License http://creativecommons.org/ licenses/by-nc-sa/4.0/

This month, Anne Musset (PhD Candidate, History of Art, University of Warwick/Université Paris-Diderot) discusses an illustration to Bell’s British Theatre:

‘This image, engraved by Joseph Collyer after William Hamilton, is an illustration of William Shirley’s historical tragedy Edward the Black Prince; or, the Battle of Poictiers. It is taken from the 1791 edition of the play in the hugely popular series Bell’s British Theatre. Shirley’s play, “attempted after the Manner of Shakespear”, was first performed in 1750 and remained popular thanks to its combination of romance and heroic action.[1] It is based on the Battle of Poitiers (1356) and stages the Black Prince as a charismatic military leader and a tender friend. A second plot focuses on the tragic love between English knight Arnold and his French prisoner Mariana. The play afforded moments of heroism and of pathos, as well as opportunities for political parallelisms and medieval pageantry.

As an illustrator, Hamilton contributed to all the major literary and historical galleries of the period. In the 1780s and 1790s he realised several vignettes and portraits for Bell’s British Theatre. The passage illustrated takes place in Act III, when Mariana and Arnold have defected to the French camp, but Arnold feels remorse at betraying his country and the Prince’s friendship. He resolves to leave Mariana and return to the English camp. Mariana, whose violent passion constantly places her on the brink of madness, attempts to prevent his departure.

The costume in Hamilton’s scene evinces a combination of styles. Mariana’s dress is rather Baroque in style, but the high waists of the ladies’ dresses correspond to the fashion of the 1790s. The slashed sleeves and ruffled collar of Mariana’s attendant are historicising details commonly found in eighteenth-century theatrical costuming to signify an earlier historical period, from the Middle Ages to the seventeenth century.[2] For Hamilton, slashed sleeves seem to be a prerequisite to the illustration of the past. Arnold’s costume is inspired by seventeenth-century rather than medieval armour. By the end of the eighteenth century, few works on costume and armour had been published in Britain, and historical painters often sought inspiration from the armouries in the Tower of London – but none of the exhibits were older than the sixteenth century. What the image achieves is an evocation of the past as the background for the sentimental drama, rather than an archaeological reconstruction of the middle ages.

The function of referring to the fourteenth century with more precision is devoted to the image’s frame: there we find direct allusions to France and England, in the form of an elaborate display of arms, armour and standards. The display has both a decorative and a narrative function. It features the banners of England and France along with a pike, a sword and a pair of gauntlets, on either side of a helmet crowned with the three ostrich feathers of the Prince of Wales and bearing his motto “Ich dien”. The frame firmly reinforces the political drama unfolding in the background, suggesting that the situation depicted originates in the political choices of monarchs, or conversely, that individual, private decisions can affect events in the political sphere. The hangings in the picture seem to merge with the armorial display of the frame, which reinforces the connection between the sentimental and the historical plots. The gauntlets on either side of the helmet appear to be holding the picture, as if presenting the image to the viewer, or exerting control over the scene. The slightly ominous gauntlets, shadow under the helmet and agitated clouds (which seem a continuation of the French standard) suggest that war will get the upper hand over the lovers.

An illustration of the historical tragedy, the image also participated in the construction of the genre of historical romance, balancing theatrical references and antiquarianism in a pathetic farewell scene. While the play claims to be staging historical fact, the illustration focuses on romance. At the same time, it retains a strong connection to the battle and the figure of the Prince of Wales thanks to its background and its highly decorative frame. Visually, the scene is reminiscent of other famous farewell scenes, such as Hector parting from Andromache or Regulus returning to Carthage – both subjects that had been regularly depicted by European artists in the second half of the century. Through such associations, the book illustration takes on aspects of history painting. As a consequence, Mariana, Arnold and British history are aligned with ancient Greek and Roman history, just as Shirley was aiming to align his own tragedy with the works of Shakespeare.’

Anne Musset
University of Warwick/Université Paris-Diderot

[1] See Jeffrey Kahan, Shakespeare Imitations, Parodies and Forgeries, 1710-1820 (Taylor & Francis, 2004), vol. 1.

[2] Diana De Marly, Costume on the Stage 1600-1940 (London: Batsford, 1982), pp.52-23.